The Garden Magazine, August, 1922 



355 



or symmetrical arrangement, Illillllllllllllllllilillllllll 

 but he obtains a balance of a 

 more subtle nature that is at 

 the same time productive of 

 a pleasing variety of form. 

 Balance and harmony with- 

 out repetition is a governing 

 principle in this as well as 

 in other Japanese arts. The 

 lines of each stem or, in cases 

 where numerous slender 

 stems are combined, the cen- 

 tral lines of each group of 

 stems receives first attention. 

 The triple arrangement, by 

 which is meant that governed 

 by three prevailing lines, may 

 be taken as the original 

 model for all arrangements. 



The three lines of such a 

 composition may be called, 

 with sufficient fidelity to the 

 more quaint nomenclature, 

 principal, secondary, and ter- 

 tiary. The principal, as the 

 name implies, is the central 

 and longest line of the design, 

 and this is made to form a 

 double curve with the upper 

 and lower extremities nearly 

 vertical and in a continuous 

 line; the general shape thus 

 assumed being that of an 

 archer's bow. The secondary 

 line should be about half and 

 the tertiary line about one- 

 quarter of the length of the 

 principal, supposing all to be 

 straightened out; and these 

 two lines are arranged on different sides of the principal in graceful 

 double curves of varied character. As a general rule, the secondary 

 line has a more vertical and the tertiary line a more lateral tendency; 

 the former being on the outside of the arched bow formed by the 

 principal, and the latter making the counterpoise on its hollow side. 

 According as the hollow of the principal faces right or left, the ar- 

 rangement is called a right or left composition. By changing the 

 direction and giving a different character to the curves of these three 

 lines, a great variety of design is produced. 



To produce a five-lined arrangement, two additional lines are in- 

 troduced between the three previously named. The one placed be- 

 tween the principal and the secondary is called the support, and the one 

 between the principal and the tertiary is called the sub-principal. The 

 support in length and importance approaches more to the secondary 

 than to the principal; while the sub-principal as its name would imply in 

 length and importance approaches more the principal than the tertiary. 

 In this way a lineal balance and harmony is obtained. In the seven- 

 lined arrangements, two more extra members are added, one called the 

 sideline and the other the trunkline. Their lengths are about inter- 

 mediate, the sideline being placed between the support and the tertiary, 

 and the trunk-line between the sub-principal and the secondary. 



In the arrangement the Japanese do not place these flowers 

 in a vertical plane; but, as Conder points out, each element in 

 the design has a definite direction. For example, if the de- 

 signer stands at a table facing north, he would arrange each 

 element in the design with definite relation to the points of 

 compass. This adds symmetry to the arrangement. The 

 principal of a seven-line arrangement would point northeast; 

 the secondary, southeast; the tertiary, southwest; the sub- 

 principal, east; the support, central over the vase; the trunk- 

 line, northeast, and the side-line, west. In this way a pleasing 

 balance and harmony of line relations are obtained. 



A STUDY of the principles of Japanese flower arrangement 

 shows that the interesting elements of their design consist 

 in a definite placing of the material. In every arrangement 



TRUE JAPANESE ARRANGEMENTS 



Daffodils (left) and Begonia (right) arranged by Miss Kichi 

 Harada of Columbia University, demonstrating the fundamental 

 simplicity and grace so characteristic of all Japanese Art 



lllilillllllllilllllliillli! there is a point of em- 



phasis and the other units 

 of the, design have a defi- 

 nite relation either in size 

 or in length of stem to the 

 principal. Too frequently 

 an American will throw to- 

 gether a large number of 

 flowers without regard to 

 the relation one flower 

 bears to another. 



In attending an English 

 flower exhibition I was 

 impressed by the artistic 

 arrangement of all the 

 flowers. One exhibition of 

 commercial varieties of 

 Carnations was particu- 

 larly artistic. The owner 

 remarked that he could 

 not understand how the 

 amateur could be inter- 

 ested in an American ex- 

 hibition of commercial 

 Carnations or Roses, for 

 the exhibitors at American 

 flower shows seemed rarely 

 to consider an artistic ele- 

 ment in their arrangement 

 of material. Twenty-five, 

 fifty or one hundred Roses 

 are put together so the 

 buds are all of uniform 

 height, then they are all 

 : " : ■ i ^ ! : .' : i I ; ■ ! i . : : i l : ■ 1 1 : i L ! ; : i :: ; i l' :- 1 i : i , '; '. ' : i " . I. : '. i .: , ! i . ; ; : M ! !l crowded into a vase so 



there is no beauty in the 

 individual; the whole is simply a mass of color and blooms. 

 The same thing applies to arrangements of Carnations. An 

 American exhibition of commercial varieties of Roses or Carna- 

 tions is simply a representation of quality and perfection of 

 culture. Were the same flowers arranged artistically the effect 

 would be much more pleasing. 



Choosing and Combining Material 



IN SELECTING material for flower arrangement the Jap- 

 anese rarely combine many species. Combination of two 

 or three species is the most common. The character of the 

 plants used is carefully studied so there is never an inappro- 

 priate combination. In regard to this Conder says: "Impor- 

 tant distinctions are made between trees and plants, and 

 between land and water plants. The locality of production, 

 whether mountain, moor, or river, considerably influences the 

 arrangement adopted. In arranging two or more species in 

 one composition, variety must be sought by combining trees 

 and plants. In the case of three lines being used, the branches 

 of a tree should never be 'supported' on both sides by a plant, 

 nor should a plant be placed in the centre with a tree arrange- 

 ment on either side. This fault is called by a term which 

 will be better understood if freely translated as 'sandwiching'." 



As an example of what the Japanese would consider a defec- 

 tive arrangement may be taken a composition of Philadelphus 

 (shrub) in the centre and Canterbury Bells and Astilbe (herbs) 

 on either side. A correct composition would be one with a 

 Deutzia (shrub) in the centre, with Kalmia (shrub) on one side 

 and Campanula (herb) on the other, as illustrated on page 353. 



The Japanese recognize many errors in combinations of 

 plants and in the placing of the material in receptacles. For 

 instance, the regular spacing of flowers of quite uniform size, 

 one above the other is called "flower stepping." The arrange- 

 ment of Oriental Poppy on page 354 illustrates this. Another 

 error is to place a flower of one color between twoof another color. 



